Who knew that a film about
awry animal experiments and the quintessential human hubris – topics which have
been covered extensively in sci-fi films for years – could still yield such
ripe, deliciously captivating fruit? There are many things I love here; but the
most impressive aspect of this aging franchise’s reboot lies in Andy Serkis’ touching and dare I say it, human, portrayal of master revolutionary ape, Caesar. This is a film that hits all the
right notes and actually makes me anticipate – not dread – the inevitable
sequel.
Honorable Mention: Martha Marcy May Marlene
Unnerving yet captivating, Martha Marcy May Marlene is a harrowing
tale of survival, an unflinching depiction of coping not as a cinematic
endpoint, but as a humanistic journey. The film eschews the Hollywood idea of a
man’s heroics saving the damsel in distress; instead, it focuses on the
woman, desperately rebuilding herself while simultaneously decomposing before
our eyes. This is a film of empowerment and depravation, destruction and
rebirth, escape and imprisonment. Its ending is hugely disturbing; but it
resonates not because of how it ends, but because of what it implies for the
character long after the credits roll.
#5: Drive
Drive is a
tough nut to crack. It beats to the sound of its own drum, at once exquisitely
restrained and yet practically begging to be steered by any viewer willing to
take the keys. At times, it’s impenetrable, stingy, almost infuriating. And yet, once you get to its gooey center – a
center in which the film bravely juxtaposes achingly prolonged moments of
silence with explosively brutal head-stomping action – its rewards are worth
all the heartache in the world. Oh, and Ryan Gosling’s not too bad in it either.
#4: The Girl with the Dragon Tattoo
Fincher’s latest dip into
the pitch-black social outcast well yields a creation that’s as viscerally
disturbing as it is thematically unsettling. Cemented by a bold yet subtly
detailed performance by Rooney Mara, The
Girl with the Dragon Tattoo only further proves that Fincher is one of the
most talented – and at times, underappreciated – filmmakers working today. The
content may not be easy to swallow; but it’ll undoubtedly look, sound, and
taste as delicious as anything else you’ll find this year.
#3: The Ides of March
Released in October either as a
forewarning for this nation’s upcoming Presidential election or as a meditation
on the growing divide between political will and moral ability, The Ides of March harnesses powerful
performances by Clooney and Gosling into a cauldron of swirling ambitions,
lies, and betrayals. Its story may not be as profound as it is unsettling, but
its timeliness and ruminations on success and more importantly, the cost of
reaching those ambitions, will surely reverberate long after the credits roll.
#2: Midnight in Paris
Charming and clever, Midnight in Paris is pensive but never
pretentious, offbeat while engaging, fantastic but not far-fetched. Reminiscent
of Woody Allen’s own Vicky Cristina
Barcelona and Richard Linklater’s Before
Sunset, this film beautifully blends the past with the future, the romantic
with the aching, and the glowing hopes with the inevitable letdowns. This is
Woody Allen at his best, conjuring a fable that’s as much a love letter to the
titular city as it is a reflection on art, joy, and life itself.
#1: The Artist
Oh the
audacity. The bravery. Or maybe the word I’m looking for is “insanity.” A black
and white film in 2011? No CGI? No 3D? No widescreen? And no dialogue? Who does
this? But it works and it works very, very well. Stripped of all the pomp and
circumstance of modern filmmaking, The
Artist shines not only as a drama from an era gone by, but as a charming love
letter to filmmaking and Hollywood in its purest form. It’s unapologetic in its
earnestness, unwavering in its convictions. And even if this subject matter
isn’t your particular cup of tea, the sheer bravado and craftsmanship of The Artist will surely make you realize
why people ever fell so madly in love with The Movies in the first place.
